Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Netherlands and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Milan.
I'm losing my edge to the art-school Shanghai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Johnny Osbourne to the dance kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Eli Mardock. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ralphi Rosario record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
The Victims,
Art Ensemble Of Chicago,
The Golliwogs,
Grandmaster Flash and the Furious Five,
Shoche,
Rosa Yemen,
Johnny Clarke,
The Fire Engines,
Throbbing Gristle,
Bizarre Inc.,
Sixth Finger,
Erasure,
Audionom,
The Divine Comedy,
Archie Shepp,
Lou Reed & Metallica,
Fugazi,
Half Japanese,
Television,
Deepchord,
Jawbox,
Max Romeo,
Talk Talk,
Pharaoh Sanders and the Fire Engines,
Crispy Ambulance,
Fear,
The Wake,
Pierre Henry,
Scientists,
Alice Coltrane,
The Knickerbockers,
the Slits,
Chris Corsano,
Roxy Music,
Pylon,
Glenn Branca,
Lower 48,
John Cale,
10cc,
Roy Ayers Ubiquity,
Connie Case,
Index,
Fat Boys,
Stockholm Monsters,
Jesper Dahlbäck,
Ash Ra Tempel,
Eric B and Rakim,
Gil Scott-Heron and Jamie xx,
The Searchers,
Strawberry Alarm Clock,
Ultimate Spinach,
Rekid,
the Sonics,
Accadde A,
Bobby Hutcherson,
Agitation Free,
Rakim,
Aloha Tigers,
Letta Mbulu,
The Barracudas,
the Swans,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.